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Harlequin used his magic batte or "slapstick" to transform the scene from the pantomime into the harlequinade and to magically change the settings to various locations during the chase scene. In , at Drury Lane, in Harlequin Amulet; or, The Magick of Mona , Harlequin was modified to become "romantic and mercurial, instead of mischievous". Columbine Colombina in Italian is a lovely woman who has caught the eye of Harlequin.


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In the original commedia dell'arte she was variously portrayed as a Pantaloon's daughter or servant. In the English harlequinade she is always Pantaloon's daughter or ward.

Originally a foil for Harlequin's slyness and adroit nature, Clown was a buffoon or bumpkin fool who resembled less a jester than a comical idiot. He was a lower class character, the servant of Pantaloon, dressed in tattered servants' garb. Despite his acrobatic antics, Clown invariably slowed Pantaloon in his pursuit of the lovers. However, two developments in , both involving Joseph Grimaldi, greatly changed the pantomime characters.

Clown's costume was "garishly colourful The production was a hit, and the new costume design was copied by others in London. Grimaldi built the character up into the central figure of the harlequinade. Clown became central to the transformation scene, crying "Here we are again! He then became the villain of the piece, playing elaborate, cartoonish practical jokes on policemen, soldiers, tradesmen and passers-by, tripping people with butter slides and crushing babies, with the assistance of his elderly accomplice, Pantaloon.

Fox, became interested in pantomime and made Clown a popular character in the Humpty Dumpty story, with which he toured North America during the middle 19th century.


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In commedia dell'arte , Pantaloon Pantalone in Italian was a devious, greedy merchant of Venice. He is taken in readily by the various tricks and schemes of Harlequin. Pantaloon's costume usually included red tight-fitting vest and breeches, slippers, a skullcap, an oversized hooked nose, and a grubby grey goatee. Pantaloon was familiar enough to London audiences for Shakespeare to refer to him at the turn of the 17th century as the exemplar of an elderly man, "the lean and slippered Pantaloon".

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In the English harlequinade, Pantaloon emerged as the greedy, elderly father of Columbine who tries to keep the lovers separated but was no match for Harlequin's cleverness. His servant Clown's antics, however, slowed him in his pursuit of the lovers. Later, Pantaloon became Clown's assistant. Pierrot Pedroline was a comic servant character, often Pantaloon's servant.

During the 17th century, the character was increasingly portrayed as stupid and awkward, a country bumpkin with oversized clothes. During the 19th century, the Pierrot character became less comic, and more sentimental and romantic, as his hopeless adoration for Columbine was emphasized. They ask me why I'm angry, cause I'm tired of bein' kept down My people, let's unite and wipe away the tears of a clown [Intermission] [Verse 3] "What ills the children" The future, for them, I see such sorrow The least that we can do is let them live to see tomorrow Too many have been killed, it's time to stand up for our rights How can the people "Fight The Power", if they can't fight for their life?

Instead, they fight their wife, beat up if she's not silent Time to fight for principles, the brothers get nonviolent The government is so crooked and liberties a hypocrite "The Star Spangled Banner? The world must find peace or find itself ripped up in pieces Afflicted with the teaching's, that make ya feel inferior Some say the government invents it all, that they just scarier Polly want a cracker, but cracker want a sister How come they could see her beauty, but brothers persist to diss her?

Send In the Clowns

Revolutionary generation on an uprise Never will they see another tear from this clown's eye [Intermission] [Verse 4] Livin' the life I live, I have to be positive Hell's my reality, I chose not to ride in it I did want to live fast, I just wanted much cash But punks were persistent, they hunted with gauge blast So I wasn't the violent type, I had to protect my life Lovin' my brother, but if he steps, I'mma shoot him twice song cut Psychotic society It's hard to find love with those who treat us like enemy They call me a lunatic, I say realistic Beware of their politics, it's sick as the sick get The son of a Panther, see pain in my mama's eyes Cause nobody thanked her for givin' them better lives " Assata Shakur?

Joker is incidental to the movement around him. It's kind of incredible how inessential he is to the biggest thing happening in his own movie. The class war doesn't need him, and the film depicting that class war doesn't seem interested in understanding it.

Instead, it makes Arthur Fleck, a delusional man with a vague mental illness, a mouthpiece decrying the end of civility and a surfeit of institutional neglect that leaves the disenfranchised with no option but violence. Tellingly, Joker has no interest in any disenfranchised characters beyond Fleck and the superficial, retrograde depiction of his illness.

In fact, Fleck spends much of Joker laboring under the dead-eyed stares of the disenfranchised, a small host of black Gothamites working thankless jobs in underpaid clerical work, riding mass transit, living in housing projects. We're never given any insight into their interior lives; they're entirely omitted from Joker 's depiction of class struggle.

Instead, they're symbolic of society's indifference, when anyone with half a damn brain would recognize that they've been left out in the cold too. If there's a villain in Joker , it's vaguely "the rich", but disingenuously so. Joker is disgusted with the same things the upper class is uncomfortable with—how rude everyone seems to be lately, how close the working class might be to violence, how phony shysters claim to know how to fix society's ills are working to bankrupt us all.

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It's a product of the Trump era in that way, setting up a flagrantly evil vision of the rich that it thinks will win the audience over to its side, only to turn the tables on viewers when Joker, fresh from killing a man on live television, escapes police custody to be warmly received by the rioting crowd. There's a desire for pop culture not to just say something, but to also mean something specific about our culture in this moment. We're in the midst of a dramatic series of breakdowns—of political norms, of socioeconomic equality, of cultural fictions large and small that were long held to be true.